In February 1977 the new ensemble of Erick Friedman, Emanuel Vardi, and Jascha Silberstein performed the complete string trios of Beethoven to honor the sesquicentennial of the master's death. Fortunately, these winning interpretations have been recorded, for this great music requires great performers.
Beethoven's interest in the string trio idiom was surely ignited by contact with Mozart's six movement Divertimento in E flat, K. 563, published posthumously in 1792, the same year Beethoven came to settle in Vienna. Shortly thereafter, Beethoven completed his first string trio, also a six movement work in E flat. Although it does not have the depth of its model, it is a rewarding work full of characteristic touches.
Beethoven's next trio, the Serenade, Op. 8, is more concentrated and high spirited. But Beethoven established his complete and personal mastery with the Three Trios, Op. 9, the best of which compare favorably with the best of the String Quartets, Op. 18. The G major Trio manifests the synthesis of Mozartean and Haydnesque elements that is the historical function of Beethoven's first period of mastery, while the Trio in C minor exudes firey pathos and ardent lyricism typical of Beethoven's best work in that key. But the successful realization of Beethovenian passion depends upon virtuoso performers who can handle a real Presto tempo, and can disguise the difficulty in passages that are awkward to play.
All the more appropriate, therefore, that this new recording features an ensemble comprised of three established masters of their instruments. Violinist and ensemble founder Erick Friedman is a world renowned virtuoso, who's first recording, incidentally, was Bach's Double Concerto with Jascha Heifetz. Violist Emanuel Vardi is a veteran of Toscanini's N.B.C. Symphony and has been featured on many recordings as both soloist and conductor. Jascha Silberstein' s is principal cellist of the Metropolitan Opera Orchestra and also pursues a soloist's career.
The collaboration of these artists is based on a carefully considered approach to the music -- not an attempt to interpret in the Romantic tradition, but to recreate the music in light of stylistic awareness. The ensemble avoids Russian style swelling vibrato in favor of a leaner sound that permits more nuanced articulation and voicing. And while motivic insistence underlies the phenomenal vitality of the true Beethovenian 'piano', this ensemble also aims for the long singing line.
This recording is a significant addition to the catalog, for no previous version so combines stylistic awareness with elan and virtuosity.
